After Jerry’s Death: Achieving Continuity in Deadhead Identity and Community By: Rebecca G. Adams, Amy M. Ernstes, and Kelly M. Lucey Adams, R.G., Ernstes, A.M., Lucey, K.M. 2014. After Jerry’s Death: Achieving Continuity in Deadhead Identity and Community. In M. Duffet, Popular Music Fandom: Identities, Roles and Practices, Routledge. Made available courtesy of Routledge/Taylor & Francis: https://doi.org/10.4324/9780203795125 This is an Accepted Manuscript of a book chapter published by Routledge in Popular Music Fandom: Identities, Roles and Practices on 07 November 2013, available online: http://www.routledge.com/9781134467693 ***© 2014 Routledge. Reprinted with permission. No further reproduction is authorized without written permission from Routledge. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Fan bases are often national or even global in scope with individual members separated by great distances. In the past, it would have been challenging for fans to form communities including people who did not live in the same geographic location, but recent improvements in communications and transportation technology have facilitated their development (Adams 1998). One such community surrounds the Grateful Dead, a North American rock band that had played together for thirty years when its lead guitarist, Jerry Garcia, died of a heart attack early in the morning of August 9, 1995 during his stay at a rehabilitation clinic in Forest Knolls, California (Wilgoren 1999). Today, more than fifteen years After Jerry’s Death (AJD), Deadheads still identify themselves as members of a community and are still loyal to the remaining original members of the band, attending performances of the bands they comprise such as Furthur, Phil and Friends, Ratdog, the 7 Walkers, and the Mickey Hart Band. From the vantage point of almost two decades AJD, it is clear that both the remaining members of the band and Deadheads have contributed to the persistence of this community, but that not all Deadheads participate in it actively and not all Deadheads who do participate in it do so in the same ways. The ways in which Deadheads contributed to the persistence of their community after Jerry’s death thus provides the focus of this case study of how fan communities deal with such a change. Keywords: Grateful Dead | Deadheads | Jerry Garcia | sociology Chapter:1 The broader depiction of fans beginning in the early 1990’s as not only consumers, but producers (Fiske 1992, Jensen 1992), and not only individual fanatics, but members of communities with shared norms, values, and interpretations of texts (Brower 1992, Jenkins 1992), marked a turning point in research on fans. This more comprehensive perspective on fans raises important sociological questions about how these communities address collective issues and, especially in the case of music communities and others focused on performers, whether and how they survive beyond the death or retirement of an individual or group that is the focus of their attention and initial reason for their existence. Fan bases are often national or even global in scope with individual members separated by great distances. In the past, it would have been challenging for fans to form communities including people who did not live in the same geographic location, but recent improvements in communications and transportation technology have facilitated their development (Adams 1998). One such community surrounds the Grateful Dead, a North American rock band that had played together for thirty years when its lead guitarist, Jerry Garcia, died of a heart attack early in the morning of August 9, 1995 during his stay at a rehabilitation clinic in Forest Knolls, California (Wilgoren 1999). Today, more than fifteen years After Jerry’s Death (AJD), Deadheads still identify themselves as members of a community and are still loyal to the remaining original members of the band, attending performances of the bands they comprise such as Furthur, Phil and Friends, Ratdog, the 7 Walkers, and the Mickey Hart Band. From the vantage point of almost two decades AJD, it is clear that both the remaining members of the band and Deadheads have contributed to the persistence of this community, but that not all Deadheads participate in it actively and not all Deadheads who do participate in it do so in the same ways. The ways in which Deadheads contributed to the persistence of their community after Jerry’s death thus provides the focus of this case study of how fan communities deal with such a change. The theory used to frame this case study is Peter Marris’ (1974) theory of loss and change. Establishing connections between the realms of psychology and sociology, he describes the experience of change as one analogously shared by individual and society. Writing at a time when functionalist theory was being criticized as excluding the possibility of change, Marris (1974, 2) boldly asked: “How can we account for the stability of social institutions in ways which do not seem to deny the likelihood of change; or explain change without discounting the resilience of patterns?” From Marris’ perspective, all changes involve a degree of loss, thus reactions to change inevitably involve grieving. Understanding the processing of grief as the key to reconciliation between change and stability underlies the theoretical relevance of the current study. Activating and shaping the entire grieving process is what Marris refers to as the conservative impulse, defined as that instinct that seeks consistency or continuity to make sense of the world and everyday life. Jerry’s death, which in Marris’ terms represented a crisis of discontinuity for Deadheads, opened a window of access to accounts of the initial stages of the grieving process. Marris’ theory of loss and change depicts this process with four main components: (1) the beginning state of status quo, (2) the disturbance represented by change, (3) the perception of change, and (4) the eff ort towards reintegration. We use the term “status quo” here to refer to the situation that existed before change occurred—called “thesis” or “equilibrium” by some theorists. In this case study, the status quo is Deadhead identity and community before Jerry’s death. The term “change” can refer to a range of disruptions to the status quo, from minor ones such as relocation or graduation from school to major ones such as war or environmental disaster. In this case study, the change considered is Jerry’s death. Any change, no matter how trivial or serious, can be perceived in one of three ways: as one that can be addressed as an incremental or substitutional change, as an opportunity for growth, or as an irreconcilable loss. As Marris (1974, 25) explains, these labels as perceptual lenses are not intended to provide clear- cut and steadfast parameters; he details that “in reality, we are likely to perceive the changes we encounter as all these at once—part substitution, part growth, part loss—in varying degrees.” It is, however, the initial response to grief and the associated perspective on change that dictates the ultimate resolution or lack of resolution of grief and determines the path of reintegration into society. Throughout this process, the conservative impulse, the instinctive drive to preserve continuity, favors interpretations of change as incremental or possible to address through substitution. So although some Deadheads perceived Jerry’s death as an irreconcilable loss that led them to withdraw from the community or as an opportunity for growth that led them to focus on other aspects of their lives, some Deadheads demonstrated the conservative impulse and sought ways to preserve continuity in their Deadhead identity and community. Describing the mechanisms they used to preserve continuity in their lives is the focus of this chapter. Understanding how the Deadhead community survived Jerry’s death will contribute to an understanding of how other geographically dispersed fan communities might persist in the face of similar changes. THE DEADHEAD COMMUNITY PROJECT The data on how Deadheads reacted to Jerry’s death presented here were collected as part of the Deadhead Community project which began in summer 1987 when independent study students at the University of North Carolina at Greensboro conducted a survey of Deadheads in the parking lots at shows (N=286). This project continued as Rebecca Adams, the first author of this chapter, took a class of students on tour in summer 1989 (Adams 1991b). Since that time, she observed ninety-one Grateful Dead shows and nine Jerry Band concerts (1989–1995) and at least as many other performances by Grateful Dead survivors, performances of jam bands, and other Deadhead gatherings (1995-present). She monitored on-line conversations on rec.music.gdead beginning in 1989, oversaw eighty-four observations of shows and seventy-seven open-ended interviews by twenty-one students in that same year, collected 177 responses to three mailed questionnaires with open-ended questions (1990–1996), conducted interviews with important Deadheads and key members of the Grateful Dead organization, and has corresponded extensively with Deadheads. In 1998, the Grateful Dead organization collected responses to a self-administered questionnaire during their twenty-two-venue national Furthur Festival Tour and hired Adams to analyze the data (N=6020) (Adams 2010). Throughout this research process, she has also collected artifacts, photos, videos, recordings of performances, and Deadhead and mainstream media. The analyzes included here are informed by all of these data, but letters and e-mail messages Adams received from Deadheads when they were in mourning are central to the analyzes presented here. The initial letters were sent to her spontaneously due to her visibility as a Grateful Dead researcher; the first was written on August 21, 1995. Subsequent letters and email messages were sent to her in response to articles she wrote for the Deadhead press AJD.